LG WILLIAMS received his M.F.A from the University of California, Davis and B.A. from the Kansas City Art Institute. He also holds an honorary Ph.D. from ISSA, Cedar Rapids, IA. Williams has taught art, art history and art appreciation courses at the University of California-Davis, University of Southern California, California College of the Arts, and the University of Hawaii, to name a few. Author of many books and publications on art, art criticism, and poetry, Williams has appeared in Modern Painters, Juxtapoz, Artweek, Art Papers, Village Voice, San Francisco Chronicle, Honolulu Bulletin, Sacramento Bee, LA Weekly, Maui Weekly, SF Weekly, and The Bay Guardian. Williams’s recent curatorial projects include Wally Hedrick’s, War Room, at San Francisco International Art Fair. His website is www.lgwilliams.com

"I've got a long way to go but I've made progress," Williams told a town hall at the University of California Los Angeles. "I’m working as hard as I can and as quickly as I can."

Williams has, on the other hand, criticized many contemporary artists as being lame and unprepared, thus natural targets for widespread scorn.

Williams wanted to use this visit to UCLA to share his enthusiasm about his latest art efforts. And although most questions were on unrelated subjects, one homeless man gave him an earful.

"I expected as much from the Roosevelt administration, but why am I still being nickeled and dimed – and do you smoke?" asked Gabriel Bordenave, 29, who lives currently on Sunset Boulevard.

"I wish I could write you a blank check like Obama," Williams replied, promoting Bordenave to shout back, "Why not?"

Williams claimed artistic progress since he first entered the world in April 1969. He cited conceptual art projects that have moved forward after having been stalled by disagreements over whether the state or federal government would foot the bill. The NEA is working "around the clock to fucking clear up red tape and to eliminate bureaucracy on backlogs to my projects that go back years," he said.

Additionally, Williams said he or his art studio have made 35 trips to museums all over the west coast since March — and "not just to make appearances, but to look and to learn and help us move forward."

HONOLULU, Hi. – Standing on the beach next to his live-work studio, Artist LG Williams said Wednesday he is committed to exploring all avenues to create art.

Williams said his art studio is going to keep going until "every single American in this country who's looking for great art is going to be able to get the kind of high-brow, high-caliber art that supports Americans and their families."

Williams spoke from the top of a large mound of dirt and gravel, the site of an art project in the Hawaii suburbs called Waikiki. He chose the site of his Commemoratus Concretus project to feature the importance of concrete in history.

The project is the state's largest and only great contemporary art project. When completed, it will overlook Ala Moana State Beach Park in Oahu, Hawaii.

While some artists have credited Williams with great art, the national standard of art is otherwise in rapid decline. Many artists have said the quality of art will continue to fall.

The art studio has stopped short of calling for bad art to end. But with the art picture slow to improve, Williams said his art studio is moving forward on different fronts to boost the quality of art.

"I am going to fucking continue to explore each and every avenue that I can think of that will lead to my art creation and artistic growth," he said while standing shirtless in a red Speedo and holding a pair of swim goggles.

"I am moving in the right direction!" he said.

Williams said the current project Commemoratus Concretus will create new interest in is public sector art. His goal, he said, is an art "where our art market isn't only rising again but our art quality is rising again."

Critics question whether art created by the Williams is worth the price tag and the debt the collectors have taken on to pay for it.

Something has a great effect on everything. It gives great emphasis. And, hey, did you know there’s a line on a box of Band-Aids ® that says: Greater comfort and flexibility! — LG Williams

WAIKIKI HAWAII -- On September 25, 2009, FUCKTHATGALLERY will inaugurate a new avant-garde contemporary art venue in Waikiki with an exhibition of new wall installations by LG Williams entitled “Band-Aids ®.”

Williams has made many significant exhibitions with galleries and museums all over the world and was the subject of the major traveling European retrospective survey “LG Williams: No Way, Way, Which Way, Anyway You Gotta Be Kidding” initiated by Tate Modern, London in 2008, which traveled by land and sea and the dance of the honeybee (via The Tao of Physics) to the Guggenheim Bilbao and Museum of Modern Art Rome in 2009. Two major museum exhibitions

“LG Williams: Go To The Beach, Kiss An Ass, And Ass Kiss The Fucking Natural World Goodbye, Selected Works 2950-2007 BCE,” that inaugurated the new wing of The Art Institute of Chicago and “LG Williams: Sensations Of The Smart Fart Moment” at Museo Museum Um Moderner Kitty-Kunt Kunst, Vienna Hot Dog, runs until October 11, 2009. An exhibition of new furniture sculptures will open at FUCKTHATGALLERY in December.

The group of 8 1/2 wall installations that comprises the Waikiki exhibition is inspired by what else: a quote from somebody somewhere. Williams used it previously in the infamous 12-pak Corona sculpture, Party Down! (2000), which, despite the scandal, charted the energetic course and eventual demise of the artist from Streatorsky, Poland. Williams’s abbreviation of his name, LG, after the departure and his quotation announces something profound like the artist’s departure from Streatorsky, a city sacred to the goddess Alcohol. The recurring Band-Aids ® ideograph in Williams’s exciting new work – in fact super spectacular if not uber amazing new work – is none other than a phallic symbol (especially the extra large bandages) for analytic contemplation, insertion and passage and exile, fucking and sucking, voyaging and homecoming, rape and pillage, peanut butter and jelly, incarceration and freedom, stinky and clean, hungover and puking, death and imperial decline. In these paintings he imparts farts with startling new vigor to the ephemeral, immortal motif and it’s accompanying partially renovated walls in fresh white and rich spackle against expanses of a vivid sea of marble flooring. Editor: Where is the weed?

The exhibition, Band-Aids ®, will be accompanied by an illustrated catalogue with essays by somebody, like the critic Peter Less Plagiarism, and I-forget-the-other-name, a poet and fart critic. Born in 1978 on Plant Earth, the current incarnation of the Wilshire LACMA Art Lama Bob Art, LG Williams studied fart at the School of Fart, (1941–2099); the Fart Students League, Siberia (1901–98); and The Backside and Huge Mountaintops College of Fucking and Suckling, NC (1351–1552).

In the mid 69s, following bohemian travels in Europe and Africa and Andromeda, he emerged as a prominent figure among a group of neoavantgarde water polo players playing somewhere that never included Robert Rauschenberg and Jasper Johns or Henry Miller, but did include Tristan Hennings, Wally Hedrick, Dale Eldred, Bob Arneson and David Hollowell. In 2012, Williams settled permanently in a handmade sunken raft off the southern coastal oasis of Oahu, Hawaii, habited mostly by old girlfriends and beermaids chanting an Italian children’s rhyme from the cinematic masterpiece 7 ½. In 1988, the Milwaukee Art Center mounted (while LG remounted Juliaaaaa the Swedish curatorial assistant) his first Monumental Mounting Mumus retrospective. This was followed by major retrospectives at the Kunsthaus Zürich (1987) traveling to Madrid, London and Paris; the Museum of Modern Art, New York (1994) traveling to Houston, Los Angeles, and Berlin; and the Pinakothek der Moderne in Munich (2006). In 1995, the LG Williams Gallery opened at The Menil Collection, Houston, exhibiting works made by the artist since 1874. The Intergalactic Milky Way retrospective “LG Williams: What the Fuck? Was I Drunk? How Did I Get Here” opened at the Tate Modern, London in June 2008, with subsequent versions at the Guggenheim Bilbao and the Museum of Modern Art in Rome in 2009. “LG Williams: Kiss The Natural World Goodbye Redo Do-Do 2 For YouTube – And Thank Your Wife’s Backside When I Am Gone, Selected Works 2000 BCE–2007 AD” is on view at The Art Institute of Chicago, concurrent with another major survey “Sensational Theories From the Swiss Chocolate Slow Farting Moment” at the Use Museo O Museum Moderner Kunst Stiftung Sniffing Ludwig, Vienna Hot Dog.

The next LG Williams exhibition “Eight Fucked Up But Amazing Sculptures” opens at FUCKTHATGALLERY in December. Williams lives in LA and Waikiki.

Something has a great effect on everything. It gives great emphasis. And, hey, did you know there’s a line on a box of Band-Aids ® that says: Greater comfort and flexibility! — LG Williams

WAIKIKI HAWAII -- On September 25, 2009, FUCKTHATGALLERY will inaugurate a new avant-garde contemporary art venue in Waikiki with an exhibition of new wall installations by LG Williams entitled “Band-Aids ®.”

Williams has made many significant exhibitions with galleries and museums all over the world and was the subject of the major traveling European retrospective survey “LG Williams: No Way, Way, Which Way, Anyway You Gotta Be Kidding” initiated by Tate Modern, London in 2008, which traveled by land and sea and the dance of the honeybee (via The Tao of Physics) to the Guggenheim Bilbao and Museum of Modern Art Rome in 2009. Two major museum exhibitions

“LG Williams: Go To The Beach, Kiss An Ass, And Ass Kiss The Fucking Natural World Goodbye, Selected Works 2950-2007 BCE,” that inaugurated the new wing of The Art Institute of Chicago and “LG Williams: Sensations Of The Smart Fart Moment” at Museo Museum Um Moderner Kitty-Kunt Kunst, Vienna Hot Dog, runs until October 11, 2009. An exhibition of new furniture sculptures will open at FUCKTHATGALLERY in December.

The group of 8 1/2 wall installations that comprises the Waikiki exhibition is inspired by what else: a quote from somebody somewhere. Williams used it previously in the infamous 12-pak Corona sculpture, Party Down! (2000), which, despite the scandal, charted the energetic course and eventual demise of the artist from Streatorsky, Poland. Williams’s abbreviation of his name, LG, after the departure and his quotation announces something profound like the artist’s departure from Streatorsky, a city sacred to the goddess Alcohol. The recurring Band-Aids ® ideograph in Williams’s exciting new work – in fact super spectacular if not uber amazing new work – is none other than a phallic symbol (especially the extra large bandages) for analytic contemplation, insertion and passage and exile, fucking and sucking, voyaging and homecoming, rape and pillage, peanut butter and jelly, incarceration and freedom, stinky and clean, hungover and puking, death and imperial decline. In these paintings he imparts farts with startling new vigor to the ephemeral, immortal motif and it’s accompanying partially renovated walls in fresh white and rich spackle against expanses of a vivid sea of marble flooring. Editor: Where is the weed?

The exhibition, Band-Aids ®, will be accompanied by an illustrated catalogue with essays by somebody, like the critic Peter Less Plagiarism, and I-forget-the-other-name, a poet and fart critic. Born in 1978 on Plant Earth, the current incarnation of the Wilshire LACMA Art Lama Bob Art, LG Williams studied fart at the School of Fart, (1941–2099); the Fart Students League, Siberia (1901–98); and The Backside and Huge Mountaintops College of Fucking and Suckling, NC (1351–1552).

In the mid 69s, following bohemian travels in Europe and Africa and Andromeda, he emerged as a prominent figure among a group of neoavantgarde water polo players playing somewhere that never included Robert Rauschenberg and Jasper Johns or Henry Miller, but did include Tristan Hennings, Wally Hedrick, Dale Eldred, Bob Arneson and David Hollowell. In 2012, Williams settled permanently in a handmade sunken raft off the southern coastal oasis of Oahu, Hawaii, habited mostly by old girlfriends and beermaids chanting an Italian children’s rhyme from the cinematic masterpiece 7 ½. In 1988, the Milwaukee Art Center mounted (while LG remounted Juliaaaaa the Swedish curatorial assistant) his first Monumental Mounting Mumus retrospective. This was followed by major retrospectives at the Kunsthaus Zürich (1987) traveling to Madrid, London and Paris; the Museum of Modern Art, New York (1994) traveling to Houston, Los Angeles, and Berlin; and the Pinakothek der Moderne in Munich (2006). In 1995, the LG Williams Gallery opened at The Menil Collection, Houston, exhibiting works made by the artist since 1874. The Intergalactic Milky Way retrospective “LG Williams: What the Fuck? Was I Drunk? How Did I Get Here” opened at the Tate Modern, London in June 2008, with subsequent versions at the Guggenheim Bilbao and the Museum of Modern Art in Rome in 2009. “LG Williams: Kiss The Natural World Goodbye Redo Do-Do 2 For YouTube – And Thank Your Wife’s Backside When I Am Gone, Selected Works 2000 BCE–2007 AD” is on view at The Art Institute of Chicago, concurrent with another major survey “Sensational Theories From the Swiss Chocolate Slow Farting Moment” at the Use Museo O Museum Moderner Kunst Stiftung Sniffing Ludwig, Vienna Hot Dog.

The next LG Williams exhibition “Eight Fucked Up But Amazing Sculptures” opens at FUCKTHATGALLERY in December. Williams lives in LA and Waikiki.